On May 16, Depp was in Cannes to walk the red carpet for the festival's opening-night film, Maïwenn's misunderstood-mistress extravaganza Jeanne du Barry, in which Depp plays King Louis XV, whose devotion to his favorite extramarital squeeze brought scandal upon Versailles. When it was announced that a Depp film would be opening the festival, murmurs of "Sacre bleu!" were heard far beyond the kingdom, though perhaps not so much in France: the festival itself has opened its arms wide to Depp, who hasn't exactly been untouched by controversy in the past few years, given his involvement in two high-profile defamation suits connected with allegations that he physically abused his former wife Amber Heard. (The jury ruled that Heard defamed Depp on three counts and awarded him $15 million in damages; Depp was found guilty of one of three charges in Heard's countersuit, and she was awarded $2 million in compensatory damages.)
The allegations, and the details of the subsequent messy trials, are horrifying enough by themselves. The trollish Depp fans who took to social media to harass Heard and the women who stood by her made the situation uglier. You'd have to have been cryogenically frozen through most of 2022 to have missed it. Yet at the festival's opening press conference on May 15-the event just wrapped its 76th edition-Cannes chief Thierry Frémaux defended the festival's choice to kick off with the film. "If there's one person in this world who didn't find the least interest in this very publicized trial, it's me," he said. "I don't care what it's about. I care about Johnny Depp as an actor."
Denne historien er fra June 12, 2023-utgaven av Time.
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Denne historien er fra June 12, 2023-utgaven av Time.
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Kate Winslet Puts Lee Miller in the Frame - Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them.
Kate Winslet loves tables. She loves them so much that the Oscar-winning actor collects them. There is nothing fancy about these antiques, but they enchant her. "It's the knots and the whorls, the shape and feel," she says. "They can feel like old friends, and there is something emotionally charging about an old table that comes with a history-I find imagining what that might be enormous fun."
Alfonso Cuarón Goes Long - The Oscar-winning filmmaker finds pathos in our lonely present in his first TV miniseries
A perceptive, generous-spirited child draws on her imagination when she's subjected to the cruelty of a boarding-school headmistress. A lone astronaut, cradled in a damaged space capsule and having lost any hope of returning to Earth, experiences a hallucination that saves her life. A young household servant, abandoned by the man who's gotten her pregnant, miscarries-though his betrayal helps her define what family truly means to her. Loneliness, so universal it has virtually become trademarked the Human Condition, is everywhere in art, and in life: we tend to fetishize it, or at least dab it with a perfume of sentimentality. But Alfonso Cuarón, now more than 30 years into a wide-ranging career that spans pictures like the Frances Hodgson Burnett adaptation A Little Princess, the space reverie Gravity, and the memoir-as-film drama Roma, is more interested in subtle emotional textures, in gradations of feeling that are always specific to the character at hand yet also joltingly recognizable. And now he brings his big-screen, big-story gifts to a limited series, an adaptation of Renée Knight's 2015 psychological thriller Disclaimer.
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